In this article we will look at the wedding cantatas that Bach wrote. First of all, we should distinguish between wedding cantatas written for the official church ceremony and wedding cantatas written for the festivities that followed. We have five titles of the former type and three of the latter, but not all of them have survived. In fact, it is staggering how much has been lost. It is estimated that during his time in Leipzig, Bach must have performed some sixty wedding cantatas at religious weddings in the Thomas or Nicolaikirche - for the wealthy who could afford such an expensive production. Why are almost all of them lost? Probably because most of them were parodies (i.e., reuses of older material) and because the texts, which addressed the bride and groom by name, were tied to a single occasion. The surviving cantatas were probably of a more general "congratulatory" nature.
Here is an overview of what we now have:
Only the text of this wedding cantata and the movements 1, 4 and 5, which Bach used a year later for his Pentecost cantata BWV 34, have survived. I could not find a recording. Not included below.
BWV 120a (Church Wedding, 1729)
This wedding cantata has a parody relationship to the Ratswechselkantate BWV 120, which has come down to us in an autograph score from 1742, but experts disagree as to which of the two cantatas was used as a model. Probably both were based on an older example. With the help of the parody relationships, this cantata has been relatively easy to reconstruct (by Koopman and Suzuki, among others).
BWV 195 (church wedding, 1748)
See below.
BWV 196 (church wedding, 1708)
See below.
BWV 197 (church wedding, 1736)
See below.
BWV 202 (wedding party, 1720)
This cantata is sometimes considered to be a more general congratulatory cantata, rather than one specifically tied to a wedding.
BWV 216, "Vergnügte Pleißenstadt" (Wedding Party, 1728)
Only the text and vocal parts for soprano and alto have survived from this cantata, written for the wedding of merchant Johann Heinrich Wolff to Susanna Regina Hempel. A reliable reconstruction is impossible. There is no recording.
Interestingly, all six surviving (or reconstructed) wedding cantatas are of high quality. However, the only one that is reasonably well known is "Weichet nur, betrübte Schatten" for solo soprano, which means that there are some rare gems to be discovered.
Take, for example, the other work for solo soprano, "O holder Tag, erwünschte Zeit," BWV 210, which is about the power of music and contains a good text and moving arias. Or the deceptively simple "Der Herr denket an uns," BWV 196. And then the grand and festive tones of "Dem Gerechten muss das Licht," BWV 195...
Cantata Studies:
Bach Cantatas Website | Simon Crouch | Emmanuel Music | Julian Mincham | Wikipedia | Eduard van Hengel (in Dutch) | Bach Companion (Oxford U.P.) | Bach: The Learned Musician (Wolff) | Music in the Castle of Heaven (Gardiner)
Der Herr denket an uns, BWV 196, 1707–08
1. Sinfonia
2. Chor: Der Herr denket an uns und segnet uns. Er segnet das Haus Israel, er segnet das Haus Aaron.
3. Arie Soprano: Er segnet, die den Herrn fürchten, beide, Kleine und Große.
4. Arie (Duett) Tenor & Bass: Der Herr segne euch je mehr und mehr, euch und eure Kinder.
5. Chor: Ihr seid die Gesegneten des Herrn, der Himmel und Erde gemacht hat.
"The Lord hath been mindful of us"
Text & translation
Scored for soprano, tenor and bass, a four-part choir and two violins, viola, cello, bass (violone) and continuo.
Early wedding cantata in a simple and concise style. The occasion was probably the 1708 wedding in Arnstadt of the minister Johann Lorenz Stauber to Regina Wedemann, the aunt of Bach's wife Maria Barbara. Stauber was the minister who had married Bach and Maria Barbara the previous year in Dornheim.
The text is a passage from Psalm 115, asking for a blessing ("segnen") on the house and children - appropriate for a wedding cantata. As always in Bach's early creative period, the cantata contains neither a recitative nor a final chorale. Like many of Bach's early cantatas, the work begins with an introductory sinfonia. The Andante movement is polyphonic; its dotted rhythm is reminiscent of the first part of a French overture.
In the second movement, which is dominated by the chorus, the cello appears tonally. The organ plays the corta figure, probably a "joy" motif. The singing voices begin in imitation (soprano - tenor) with the text "Der Herr denkt". From the third bar, the alto and bass are added. From the 13th bar, a fugue begins, characterized by the Corta motif. The strings partly support the vocal parts colla parte, partly they add their own theme after the exposition of the fugue theme. The movement develops as a permutation fugue.
The third movement, an aria, continues the theme of blessing. Here the violins and basso continuo join the solo soprano. The motifs continue the sixteenth-note figurations from the previous choral movement. The violins play triplets, which often symbolize the divine Trinity in Bach's works, and which can be interpreted here as a divine blessing on the bride and groom.
In the solemn 3⁄2 duet that follows, short vocal passages alternate with equally short ritornellos in the strings.
The final chorus is in two parts. In the first part, the instruments play lively figurations in semiquavers, with the words "heaven" and "earth" each separated by a quaver rest and descending intervals. The second part of the cantata movement is an Amen fugue.
Video: Netherlands Bach Society - Interview Mields, Van Veldhoven and Daniels / Vox Luminis Arnstadt rehearsel
Weichet nur, betrübte Schatten, BWV 202, 1714?-1721?
Aria Soprano "Weichet nur, betrübte Schatten"
Recitative Soprano "Die Welt wird wieder neu"
Aria Soprano "Phoebus eilt mit schnellen Pferden"
Recitative Soprano "Drum sucht auch Amor sein Vergnügen"
Aria Soprano "Wenn die Frühlingslüfte streichen"
Recitative Soprano "Und dieses ist das Glücke"
Aria Soprano "Sich üben im Lieben"
Recitative Soprano "So sei das Band der keuschen Liebe"
Aria Soprano "Sehet in Zufriedenheit"
"Depart, gloomy shades."
Text & translation
Scored for a solo soprano voice, oboe, violins, viola, and basso continuo.
A wedding cantata for solo soprano (written for the wedding party after the formal church wedding). The text concerns itself with renewal, an appropriate theme for weddings.
The cantata begins with a poetic inspiration: quietly rising string arpeggios suggest the "gloomy shades," the winter mists, which are then penetrated by a warming ray of light from the oboe's first long note, presaging the soprano's entry. The central part of this aria sings of the delights of spring, the time for love - even for the ancient gods.
The tone gradually lightens over the nine numbers that constitute the cantata. A recitative, "Die Welt wird wieder neu" (The world becomes new again), leads to the second aria, "Phoebus eilt mit schnellen Pferden" (Phoebus hastes with rapid horses) which is accompanied only by the continuo. The trotting of the horse mentioned in the text is illustrated in the continuo. This aria shares its origin with Bach's violin sonata BWV 1019 and most effective it is here too.
A recitative, "Drum sucht auch Amor sein Vergnügen" (Therefore Love himself seeks his pleasure), leads to the third aria, "Wenn die Frühlingslüfte streichen" (When the springtime breezes caress), with a solo violin, in elegiac mood.
The recitative "Und dieses ist das Glücke" (And this is good fortune) prepares the aria "Sich üben im Lieben, in Scherzen sich herzen" (To cultivate love, to cuddle in playful tenderness) with an obbligato oboe. The melody of the dance-like music in a triple metre alludes to folk music.
A recitative, "So sei das Band der keuschen Liebe" (So may the bond of chaste love) leads to the final aria, marked as a courtly gavotte, again with all instruments, "Sehet in Zufriedenheit tausend helle Wohlfahrtstage" (May you see in contentment a thousand bright happy days).
This cantata survives intact thanks to a copy made by Johannes Rinck in 1730. It may have been composed during Bach's time at Cöthen (1717-23, with Anna Magdalena Bach as possible soloist) but other suggestions have placed it even earlier, during Bach's Weimar years.
Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) / Netherlands Bach SocietyHerr Gott, Beherrscher aller Dinge, BWV 120a, 1729
Part 1
Chorus: Herr Gott, Beherrscher aller Dinge
Recitative (tenor, bass, and choir): Wie wunderbar, o Gott, sind deine Werke
Aria (soprano): Leit, o Gott, durch deine Liebe
Part 2
Sinfonia
Recitative (tenor and choir): Herr Zebaoth, Herr, unsrer Väter Gott
Aria (alto, tenor): Herr, fange an und sprich den Segen
Recitative (bass): Der Herr, Herr unser Gott, sei mit euch
Chorale: Lobe den Herren, der deinen Stand sichtbar gesegnet
"God, who rules over everything."
Text & translation
Scored for four solo voices (soprano, alto, tenor, and bass), a four-part choir, three trumpets, timpani, two oboes, two oboes d'amore, two violins, viola, and basso continuo.
A wedding cantata in two parts, the second part to be performed after the wedding ceremony. The cantata has come down to us in incomplete form, but can be reconstructed by referring to BWV 120 (going back like our wedding cantata to the same lost Köthen original).
Only the recitatives are unique to this cantata. Three movements were copied from BWV 120 "Gott, man lobet dich in der Stille," composed for the occasion of the inauguration of a new town council: BWV 120a/1 corresponds to BWV 120/2 (and this was later again adapted for the opening chorus of the Mass in B minor. one of Bach's greatest works), BWV 120a/3 corresponds to BWV 120/4, and BWV 120a/6 corresponds to BWV 120/1, The sinfonia 120a/4 comes from BWV 1006/1 (the prelude of the partita for violin solo in E major). BWV 120a/8, finally, corresponds to BWV 137/5.
The closing chorale is by Joachim Neander, stanzas 4 and 5 of his hymn "Lobe den Herren, den mächtigen König der Ehren"
The music is generally agreed to be of high quality despite these various origins. Generally, the orchestration is typical of what Bach used for festive occasions, with oboes d'amore, trumpets and timpani. The names of bride and groom are not known.
Audio: KoopmanO holder Tag, erwünschte Zeit, BWV 210, between 1738 and 1746
Recitative: O holder Tag, erwünschte Zeit
Aria: Spielet, ihr beseelten Lieder (A major)
Recitative: Doch, haltet ein, ihr muntern Saiten
Aria: Ruhet hie, matte Töne (E major)
Recitative: So glaubt man denn, dass die Musik verführe
Aria: Schweigt, ihr Flöten, schweigt, ihr Töne (B minor)
Recitative: Was Luft? was Grab?
Aria: Großer Gönner, dein Vergnügen
Recitative: Hochteurer Mann, so fahre ferner fort (A major)
Aria: Seid beglückt (A major)
"O glorious day, longed-for time"
Text & translation
Scored for soprano, flauto traverso, oboe d'amore, two violins, viola, violone, and harpsichord continuo.
Like BWV 202, this is a wedding cantata for solo soprano - and like BWV 202, it was written for the (more frivolous) wedding party after the formal church wedding. The text is addressed primarily to the bridegroom and discusses the place of love and music in his future life. In this way, the cantata text of an unknown poet suggests an influential man who esteemed music. The parts for soprano and continuo are written in exquisite calligraphy, probably as a gift for the couple. The words center on the relationship of music and marital love, ending in praise of the bridegroom as a supporter of music. The exact event and couple involved is unknown, although several important weddings that took place during the last decade of Bach's life have been suggested. Bach re-used material from a "Huldigungskantate" (homage cantata), "O angenehme Melodei," first performed in 1729.
There are five recitatives and arias. The first recitative introduces the happy day. Then follows a confident orchestral introduction, after which the soprano praises the power of music to move the soul. The virtuosity of this aria suggests a mature and accomplished singer (perhaps Bach's wife Anna Magdalena). The following recitative doubts that music should interrupt the harmony of bride and groom and a lovely oboe line introduces the next aria (Rest here, weary tones) which stresses this further. This is a "slumber aria" in a languorous rhythm.
The third aria is accompanied by the flute and seems resigned to the fate of music to be quiet (the flute, however, is disobedient and continues to adorn the music with decorative filigree), but the fourth aria, a lovely polonaise, strongly takes up the defense of music again. The bridegroom is addressed as a beneficent music lover.
The final recitative urges the bridegroom not to abandon both his love and patronage of music and the cantata ends with a song of general rejoicing, expressing good wishes for the future of the bridal pair.
It is strange that this work is so little known and rarely performed and recorded... it is a most beautiful work, on a good text.
Video: Rebecca Myers and FilamentDem Gerechten muss das Licht, BWV 195, 1748–49
I.
Chor: Dem Gerechten
Rezitativ Bass: Dem Freudenlicht gerechter Frommen
Arie Bass: Rühmet Gottes Güt und Treu
Rezitativ Soprano: Wohlan, so knüpfet denn ein Band
Chor: Wir kommen, deine Heiligkeit
II.
Choral: Nun danket all und bringet Ehr
"There is sprung up a light for the righteous"
Text & translation.
Scored for soprano and bass vocal soloists, a four-part choir, three trumpets, timpani, two horns, two flutes, two oboes, two oboes d'amore, two violins, viola, violone, and basso continuo.
A grand and festive wedding cantata, based on an earlier work from 1727-31 (Bach substituted the earlier work's recitative, aria and chorus in the second part with just a chorale). Only incomplete scores from later performances from the 1740s survive. The cantata uses two verses from Psalm 97 for the opening movement and the first verse of Paul Gerhardt's hymn "Nun danket all und bringet Ehr" for the final chorus (with the melody of Lobt Gott, ihr Christen alle gleich). The librettist of the other movements is unknown.
The cantata was written for an important event, the wedding of Johanna Eleonora Schutz and Gottlob Heinrich Pipping, who was a lawyer and burgomaster. On this glorious occasion an elaborate orchestra was available (including trumpets, timpani and two oboes).
The cantata starts and finishes with mighty, festive choruses. The opening choral movement combines two fugues, each with a verse of a psalm, with concert voices. The movement has an energetic and exuberant instrumental introduction. The first section highlights the contrast between ripieno and full chorus, while the second section is dance-like.
A secco bass recitative is followed by the only aria in the cantata, for bass. It contains an instrumental ritornello with a characteristic Scotch snap. The middle section moves to a minor key to increase the intimacy of personal expression. In the character of a folk song, this aria demonstrates the late Bach's familiarity with the galant style. It is accompanied by pairs of flutes and oboes d'amore.
The soprano recitative is a musical representation of the central part of the wedding ceremony: the blessing of the community. It is accompanied by oboes and flutes.
There is a very short second part (post wedding ceremony, to be played after the sermon). The penultimate movement is a chorus, similar to the opening chorus. It combines da capo and ritornello forms. The first section is dominated by musical scale motifs, while the middle section is chordal and "quasi-philosophical".
The cantata ends with a four-part choral movement of the melody of "Lob Gott, ihr Christen, alle gleich".
Video: Julian WachnerGott ist unsre Zuversicht, BWV 197, 1736/37 (partly based on 197a)
I.
Chor: Gott ist unsre Zuversicht
Rezitativ Bass: Gott ist und bleibt der beste Sorger
Arie Alto: Schläfert allen Sorgenkummer
Rezitativ Bass: Drum folget Gott und seinem Triebe
Choral: Du süße Lieb, schenk uns deine Gunst
II.
Arie Bass: O du angenehmes Paar
Rezitativ Soprano: So wie es Gott mit dir
Arie Soprano: Vergnügen und Lust
Rezitativ Bass: Und dieser frohe Lebenslauf
Choral: So wandelt froh auf Gottes Wegen
"God is our hope and strength"
Text & translation
Scored for three vocal soloists (soprano, alto, and bass), a four-part choir, three trumpets, timpani, two oboes, two oboes d'amore, bassoon, two violins, viola, and basso continuo.
Cantata written for a wedding of persons of high rank, although nothing is known about the occasion. However, the dimensions of the piece and the large number of instruments indicate that it must have been performed at such an occasion. There is even a Latin subheading "In diebus nuptiarum". The elaborate work is based in part on a now-lost Christmas cantata.
The text is about God's providence and omnipotence. In part 2 we also find an address to the bridal couple.
The cantata is over 30 minutes long, but there are only three arias. In other words, the individual movements are all quite long. The powerful fugal opening chorus lasts a full six minutes. It is a splendid piece, festively scored for three trumpets, timpani, two oboes, strings and continuo, in effect a fusion of an introductory sinfonia with an opening chorus.
The first aria for contralto and oboe d'amore is a tenderly expressive exhortation to trust in God's guidance. It has a beautiful and stately instrumental accompaniment. In the second part (to be played after the wedding ceremony), a solemn bass aria is an intimate address to the bride and groom, accompanied by the oboe and bassoon. The soprano aria has the character of a lullaby or even a folk dance and is accompanied by violin and two oboes d'amore. The arias for bass and soprano are taken from the now lost Christmas cantata BWV 197a.
The final chorale is a simple setting of a beautiful melody.
Video: Trinity Church